The Aesthetic Connotation Of The Animal Pattern Decoration Of Formative Arts In The Han Dynasty

The dissertation initially develops centering on the emergence of animal pattern decoration of formative arts of Han Dynasty, which commence from the generation of animal pattern decoration in primitive society to the development course of that in Spring and Autumn Period and the Warring States Periods and Qin Dynasty, and summarize the fundamental development tendency. And then conduct an analysis with respect to the history reasons behind animal pattern decoration of formative arts of Han Dynasty, mainly elaborating from three distinct aspects of formation and consolidation of the Han Empire, the feudal ethic code of grand unified thoughts in Han-dynasty Confucianism and impacts exerted by Taoism witchcraft.In the preliminary stage of the Western Han Dynasty, animal pattern decoration was developing slowly and inherits the customs in the Warring States Periods, taking on a natural sequence status, wherein animal pattern decoration occupied the first spot in painting silk and lacquer painting, mermaid and fantastic beasts spring up, screen with the visual effects lead to heaven. During over200years from Emperor Wu Di of Han Dynasty (140B.C.-87B.C) to Emperor Zhang Di of Han Dynasty (76-88), the formative arts of Han Dynasty has witnessed its peak and the most active period as animal pattern decoration was. Due to prevailing of lavish funeral and impact from the theory of Confucianist divination, painting in silk, mural paintings in tombs and lacquer painting and other formative arts enjoy a extremely high popularity, where batches of auspicious animals accompanied by the application of geometric design has become the major manifestation of formative arts. Auspicious animal decorations are utilized by the emperor so as to acknowledge their morality and conduct and it is also an embodiment that the emperors pursue unity of heaven and human beings. From the period of Emperor He Di of Han Dynasty (89-105) to the end of Han Dynasty, animal pattern decoration of which has driven to maturity. An unprecedented range of wild animal species, shape varied and skillful carving, animal pattern decoration occupies the dominant position of the plastic arts. Formative arts generally extended to each sphere, however, whose purpose did not lie in decoration and formative arts still manifest the feudal enlightenment of ferocity is to enlighten the public however goodness is to inform the generations of that. The unprecedented flourish of relief stone sculpture and brick reliefs diversify the manifestation of animal pattern decoration in terms of real life materials such as conviviality, shooting, war, mulberry leaf harvest, etc. to magnify the significance of animal pattern decoration. Rather than focusing on one certain animal image during this period, the animal pattern decoration shape a neomorph with the combination of animal style, geometry design and plant pattern, whose manifestation tends to be higher exaggerated and freedom even promote to totem worship representing a extremely strong life force and it has demonstrated an elegance featuring magnificence and grandness. Owing to the limit of the materials, it is still in the immature stage and along with the unique shape, is lack of the accurate professional skills, so versed in the art until the Tang Dynasty, under the prevailing plant decoration, wild animal style and decoration gradually lost elegant demeanor and meaning. Additionally, its contents are still confined to the rigid rules in some way, which increasingly demonstrates its class-consciousness and epochal characters in an obvious manner.In the art of design, they are distinct from contents to subjects, from manifestation to design which all indicate the various structure features. However, with the guidance of aesthetic thoughts in Han dynasty, their design features have much in common. Probing into its aesthetic connotation from the point of artistic form itself obviously reflects the pursuit of the aesthetics. Generally speaking, it can be reflected from three perspectives:simplicity, dynamicity and density, showed in the process of the relatively individual artistic style (such as craving and drawing) into the gradual maturity.This dissertation analyzes the aesthetic connotation in the formative arts about animal pattern decorations in Han dynasty, which first of all can be summarized as the beauty of the might of life. The simple-looking animal pattern decorations inevitably consist of the interior beauty, whose natural and overall interior power and the praise towards life form the aesthetic styles of the animal pattern decoration. Secondly, they are about the beauty of free exaggeration. The fantastic magic world as the animals’ mark or symbol have become the significant artistic contents and aesthetic objects, enabling the artistic features even more animated, freely exaggerated and unconstraint. And they all embody the aesthetic connotation of the Han people’s freedom, wildness and release. Thirdly, they are about the beauty of magnificence and grandness. In the formative arts of Han Dynasty, they freely display the kind of activity and flexibility to its highest level. Both their artistic designs and aesthetic connotation embody that characteristic as well as the subject that people’s desire to conquer the object world and nature. Although somewhat coarse and clumsy, they are spectacular and refreshing.Based on the above interpretation of the Han Dynasty wild animal and synthesis of decorative, carved and painted with mercy shape, flow strong lines, flexible composition, giving it a unique form of beauty. Realism, Romanticism interacts intersection of fusion, so that presents a rich variety of aesthetic style, even today, still decorated Han wild animal spirit exudes charm charming, with important modern significance.